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X YOLANDA ACKER, : : Plaintiff, : : V UNITED STATES DISTRICT COURT DISTRICT OF CONNECTICUT -----------------------------------x YOLANDA ACKER, : : Plaintiff, : : v. : Civil No. 13CV1717 (AWT) : STEPHEN KING, : : Defendant. : -----------------------------------x RULING ON MOTION TO DISMISS The pro se plaintiff, Yolanda Acker (“Acker”), brings this action against Stephen King (“King”) for copyright infringement and for perjury. The defendant has moved to dismiss the Amended Complaint pursuant to Rule 12(b)(6) of the Federal Rules of Civil Procedure, or in the alternative, for summary judgment pursuant to Rule 56 of the Federal Rules of Civil Procedure. For reasons set forth below, the defendant‟s motion to dismiss is being granted. I. FACTUAL ALLEGATIONS “The [amended] complaint, which [the court] must accept as true for purposes of testing its sufficiency, alleges the following circumstances.” Monsky v. Moraghan, 127 F.3d 243, 244 (2d Cir. 1997). The plaintiff is the author of an unpublished anthology titled Short Tales of Killing Horror, which includes five short 1 stories and one of which is titled “The Haunting of Addie Longwood” (“Haunting”). The effective date of the plaintiff‟s copyright registration for her anthology is May 2, 2011. Haunting “depicts a 12 year old girl named [Jessica] who moves to a town called Ellsworth which is in Maine[.]” (Am. Compl., Doc. No. 27, at 3.) Jessica “saves the town from murders” and “has had psychic abilities since her childhood.” (Id.) The plaintiff alleges that she mailed a copy of her Haunting manuscript to the defendant in or around the middle of March 2012. The defendant‟s assistant responded with a letter dated April 24, 2012. The letter acknowledged receipt of the manuscript, and also stated that “[t]he demands on [King‟s] time also make it impossible to read and comment on unsolicited manuscripts.” (Am. Compl., Ex. 3, Doc. No. 27-3, at 2.) In or around May 2012, the plaintiff searched online for the defendant‟s name and upcoming novels and learned about the upcoming publication of the defendant‟s novel Doctor Sleep. The plaintiff alleges the theme of the defendant‟s novel to be: [T]he main character besides the boy Dan Torrance to be a 12 year old girl named Abra Stone who had moved to a new town (New Hampshire) and coincidentally met this/Dan Torrance boy whom they both have psychic abilities and at the end save the town from paranormal murders. (Am. Compl., Doc. No. 27, at 3.) The plaintiff alleges the defendant “willfully stole [her] main character to finish off 2 his story „Dr. Sleep‟ he addresses [her] character but coincidentally changes the way it was written offhandedly . .” (Id. at 6.) With respect to the perjury claim, the plaintiff alleges that the defendant made false statements “about [her] as to not know who [she is].” (Id.) II. LEGAL STANDARD When deciding a motion to dismiss under Rule 12(b)(6), the court must accept as true all factual allegations in the complaint and must draw inferences in a light most favorable to the plaintiff. See Scheuer v. Rhodes, 416 U.S. 232, 236 (1974). Although a complaint “does not need detailed factual allegations, a plaintiff‟s obligation to provide the „grounds‟ of his „entitle[ment] to relief‟ requires more than labels and conclusions, and a formulaic recitation of the elements of a cause of action will not do.” Bell Atlantic Corp. v. Twombly, 550 U.S. 550, 555 (2007) (citing Papasan v. Allain, 478 U.S. 265, 286 (1986) (on a motion to dismiss, courts “are not bound to accept as true a legal conclusion couched as a factual allegation”)). “Nor does a complaint suffice if it tenders naked assertions devoid of further factual enhancement.” Ashcroft v. Iqbal, 556 U.S. 662, 678 (2009) (quoting Twombly, 550 U.S. at 557). “Factual allegations must be enough to raise a right to relief above the speculative level, on the assumption that all allegations in the complaint are true (even if doubtful 3 in fact).” Twombly, 550 U.S. at 555 (citations omitted). However, the plaintiff must plead “only enough facts to state a claim to relief that is plausible on its face.” Id. at 570. “The function of a motion to dismiss is „merely to assess the legal feasibility of the complaint, not to assay the weight of the evidence which might be offered in support thereof.‟” Mytych v. May Dept. Store Co., 34 F. Supp. 2d 130, 131 (D. Conn. 1999) (quoting Ryder Energy Distribution v. Merrill Lynch Commodities, Inc., 748 F.2d 774, 779 (2d Cir. 1984)). “The issue on a motion to dismiss is not whether the plaintiff will prevail, but whether the plaintiff is entitled to offer evidence to support his claims.” United States v. Yale New Haven Hosp., 727 F. Supp. 784, 786 (D. Conn. 1990) (citing Scheuer, 416 U.S. at 232). In its review of a motion to dismiss for failure to state a claim, the court may consider “only the facts alleged in the pleadings, documents attached as exhibits or incorporated by reference in the pleadings and matters of which judicial notice may be taken.” Samuels v. Air Transport Local 504, 992 F.2d 12, 15 (2d Cir. 1993). When considering the sufficiency of the allegations in a pro se complaint, the court applies “less stringent standards than [those applied to] formal pleadings drafted by lawyers.” Haines v. Kerner, 404 U.S. 519, 520 (1972); see also Branham v. 4 Meachum, 77 F.3d 626, 628-29 (2d Cir. 1996). Furthermore, the court should interpret the plaintiff‟s complaint “to raise the strongest arguments [it] suggest[s].” Burgos v. Hopkins, 14 F.3d 787, 790 (2d Cir. 1994). III. DISCUSSION A. Copyright Infringement “[A] principle fundamental to copyright law [is that] a copyright does not protect an idea, but only the expression of an idea.” Kregos v. Associated Press, 3 F.3d 656, 663 (2d Cir. 1993) (citing Baker v. Selden, 101 U.S. 99, 103 (1879)). Thus, “the essence of infringement lies in taking not a general theme but its particular expression through similarities of treatment, details, scenes, events and characterization.” Reyher v. Children‟s Television Workshop, 533 F.2d 87, 91 (2d Cir. 1976). “In order to establish a claim of copyright infringement, a plaintiff must show ownership of a valid copyright and the defendant's infringement by unauthorized copying.” Laureyssens v. Idea Group, Inc., 964 F.2d 131, 139 (2d Cir. 1992). Copyright registration is “prima facie evidence of the valid ownership of copyright . .” Rogers v. Koons, 960 F.2d 301, 306 (2d Cir. 1992). The plaintiff‟s satisfaction of the first element of a prima facie case of copyright infringement is not disputed here. 5 “To satisfy the second element of an infringement claim – the „unauthorized copying‟ element – a plaintiff must show both that [her] work was „actually copied‟ and that the portion copied amounts to an „improper or unlawful appropriation.‟” Jorgensen v. Epic/Sony Records, 351 F.3d 46, 51 (2d Cir. 2003) (quoting Castle Rock Entm‟t v. Carol Publ‟g Grp., Inc., 150 F.3d 132, 137 (2d Cir. 1998)). “Actual copying may be established either by direct evidence of copying or by indirect evidence, including access to the copyrighted work, similarities that are probative of copying between the works, and expert testimony.” Castle Rock, 150 F.3d at 137 (internal quotation marks and citation omitted). The plaintiff has not alleged any direct evidence of copying. As for indirect evidence, for the purpose of the motion to dismiss only, the defendant has assumed arguendo that the plaintiff‟s “allegation that she sent an unsolicited copy of her manuscript of Haunting to King is sufficient to establish access, and that there are sufficient similarities in Doctor Sleep to be probative of copying[.]” (Def.‟s Mem., Doc. No. 34, at 11.) “It is only after actual copying is established that one claiming infringement then proceeds to demonstrate that the copying was improper or unlawful by showing that the second work bears substantial similarity to protected expression in the earlier work.” Castle Rock, 150 F.3d at 137 (internal quotation 6 marks and citations omitted). “[A] determination of substantial similarity requires a detailed examination of the works themselves,” Williams v. Crichton, 84 F.3d 581, 583 (2d Cir. 1996) (internal quotation marks and citation omitted), and asking “whether a lay observer would consider the works as a whole substantially similar to one another.” Id., at 590. The Second Circuit has noted that “[w]hen we determine that a work contains both protectible and unprotectible elements, we must take care to inquire only whether the protectible elements, standing alone, are substantially similar.” Id., at 588 (quoting Knitwaves, Inc. v. Lollytogs Ltd., 71 F.3d 996, 1002 (2d Cir. 1995)) (internal quotation marks omitted and emphasis in original). “[S]cenes a faire, that is, scenes that necessarily result from the choice of a setting or situation” are unprotectible. Walker v. Time Life Films, Inc., 784 F.2d 44, 50 (2d Cir. 1986). Examples of scenes a faire are “[e]lements such as drunks, prostitutes, vermin and derelict cars [that] would appear in any realistic work about the work of policemen in the South Bronx.” Id. “Neither does copyright protection extend to copyright o[f] „stock‟ themes commonly linked to a particular genre. Foot chases and morale problems of policemen, not to mention the familiar figure of the Irish cop, are venerable and often-recurring themes of police fiction.” Id. In addition, “[c]opyright law provides very 7 limited protection to the characters presented in the creative work. Basic character types are not copyrightable.” Jones v. CBS, Inc., 733 F. Supp.
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